Element 3D跟踪报道之《神器起源》独家中文翻译

  • A+
所属分类:影视工业 行业资讯

As we approach the release date for our new plug-in Element 3D, I started thinking about

where this plug-in started and what inspired us to make it a reality.

随着Element 3D发售的日子越来越近,我开始回想这个插件的起源,是什么激励着我们把最初的想法变成这个实实在在的插件的呢。

 

I’ve been working with traditional 3D programs since Ray Dream 3D, followed by 3D max over 10 years ago when it was published by discreet. (Crazy to think about how long it’s been!).

What I loved (and still do) about 3D is that there was always something new to learn! One day I want to fly helicopters, then I want to create explosions or realistic ocean waves.

And what I’ve learned is that there is not a single or right way to do anything. It’s all an illusion, the goal is to create something that “looks” good any way possible. There may be scientifically more accurate ways to calculate lighting but accurate doesn’t necessarily mean better in fact it usually means slower.

我用过的第一款3D软件叫Ray Dream 3D,然后在十多年前改用3Ds max,那时3Ds max还是Discreet公司的

产品。(3DS MAX的历史真TMD长的不可思议)。我之所以喜欢3D是因为一直都有新的东西可供学习,比如,今天我想做一个直升机,明天说不定就想做一个爆炸或者真实的海浪。我知道没有一种方法可以一劳永逸。所有的一切在一开始只是一些想法,而目的是竭尽所能做出实实在在的看起来很棒的效果。通常有很多种精确计算场景照明的方法,但是,更精确的照明并不一定意味着更好的效果,而通常它只意味着更慢的渲染速度。

 

The true balance was finding the sweet spot between the final look and a realistic render time because if you can’t deliver a shot then it doesn’t matter how good it will look when it is done rendering. I remember having to render my 3D at lower resolution and then scale up in After Effects to get things done on time. I was desperate, I got smarted and learned to manage my render requirements.

你必须在渲染成品的外观和渲染时间之间找到一个平衡点。因为如果你半年都渲染不出来一张画面,那画面渲染的再好又有什么用呢。我记得我就曾经为了及时完成工作,在3D里渲染低分辨率的素材,然后导入

AE再缩放。吃一堑长一智,我后来学会了如何来把握渲染要求了。

 

Then computers got better, stronger & faster and render engines pushed the limits of photo-realism with the use of global illumination and micro-triangle displacement! The quality of modern raytracing engines like Vray, Renderman & Cinema 4Ds really is spectacular. But the way raytracing works can be CPU intensive so on projects without unlimited render power, artist still have to find the right balance.

后来,计算机发展的越来越好,越来越强大,处理速度越来越快,3D软件的渲染引擎用全局光照和微三角置换技术可以渲染出照片级的画面,现代的一些光线跟踪引擎例如Vray,Renderman 和Cinema 4D,这些渲染引擎真TM的亮瞎了。但是光线跟踪类引擎引擎的工作方式决定了它们对CPU的工作强度要求很高,所以,如果你做的项目的机房没有不间断渲染电源的话,艺术家们还是要找到那个平衡点的。

 

Meanwhile the video game industry was innovating with a different approach. REALTIME. Games are meant to be played so the worlds need to render on the fly. With popular game titles breaking records, the graphics card industry exploded with new innovations and developers tried to make the most realistic games as possible while maintaining realtime performance on current graphics cards. Some developers went a little too far like the Crytek game that was notoriously sluggish at maximum quality but the graphics were undeniable at the time. I personally think Battlefield 3 has the best quality rendering without affecting gameplay performance although I admit I’m more of a Doom guy myself

同时,游戏的画面也正以不同的方式进步着。实时。游戏是互动的,所以游戏中的场景是实时渲染的。
游戏的画面不停的刷新着之前的记录,硬件厂商不断探索如何能在现有显卡的基础上实现更真实画面,另

一方面又能保证画面实时交互的流畅性。

 

So what does it all mean? Well here was our idea… Video games look pretty dang good, and they render in realtime, so what if we could use the same OpenGL capabilities to create a custom 3D engine and then add professional features as well? So we did! Our early tests were promising and we kept pushing the limits while maintaining speed and visual quality.

我扯这些做什么?跟我们有神马关系?游戏的画面看着那么棒还能实时渲染,要是我们也能利用OpenGL技术来创造一个加入专业特性的3D引擎,那该多好啊!于是我们说干就干了!前期的一些测试很成功,并且我们不断的改善渲染效果,同时提高渲染速度.

 

We even added things to our engine that game developer could never do because everything in their world MUST be realtime but in the creative world, some rendering is expected. So we could add powerful features that would be too slow for a game engine but blazing fast for creative artists.

在我们的渲染引擎里一些东西游戏画面里甚至永远不会出现,因为游戏画面里的所有东西必须是实时渲染的,而在我们的世界里是有“预渲染”这个词的,所以我们给我们的引擎添加了一些超NB的特性,这些特性游戏引擎带不动,而我们的引擎带着吱溜溜的转!

 

We know that OpenGL doesn’t handle raytracing, so 3D objects do not reflect other nearby objects BUT with Reflection Maps, we can still create impressive materials that still look great and still render fast! Our goal was to create a plug-in that could fill the gap between the world of 3D and After Effects so you can composite while you work.

大家都知道,OpenGL不支持光线跟踪,所以场景中的物体无法直接反射它周围的物体,但是,我们可以添加反射贴图,一样可以做出材质超棒、整体外观良好,同时又渲染超快的作品。我们的目标是创造一款架在3D和AE之间的鸿沟上桥梁,让你3D合成两手一起抓!

 

We want Element to appeal to professional 3D artists that want to save time when possible and non-3D artists looking to reach the next level. Plus we want to put the fun back in 3D for everyone!

我们希望Element 3D能为大家所赏识,这个“大家”包括想节省时间的3D艺术家们以及想进阶的2D艺术家们。此外,我们还希望能把3D的乐趣带给你们所有人!

 

When I look at some of the things that Element has rendered… I can’t believe they came out

of a Plug-in, Happy Independence day too! Will Smith’s best movie!

现在看俩眼Element 3D渲染的画面,我自己都不敢相信这些画面是一个插件做出来的!

最后,祝大家独立日快乐!(7月4日为美国独立日,《独立日》也是威尔斯密斯最棒的一部电影)

千年骚狐
微信公众号

发表评论

:?: :razz: :sad: :evil: :!: :smile: :oops: :grin: :eek: :shock: :???: :cool: :lol: :mad: :twisted: :roll: :wink: :idea: :arrow: :neutral: :cry: :mrgreen: